I am honored to be invited to discuss the subject of LDS film and its future. I'm mostly known as a novelist in this market, but I assume I was invited because I am preparing to release into theatres my own contribution to LDS cinema, a film titled "Passage to Zarahemla," the first ever LDS action/adventure/science-fiction movie.

Now, I agree that film is a powerful way to communicate ideas. But that's all it is -- a medium for communication -- and perhaps not even the best medium. Filmmakers and storytellers are not prophets, and our work should never be elevated to the same level of importance nor replace what they do.

I've been a storyteller my whole career, but I would be the first to confess that what I do is totally expendable. The LDS Church would progress just fine without LDS films or novels. No movie experience should ever compare with that of taking the sacrament. And no story will ever be more influential in changing someone's life than the efforts of a good-hearted bishop, a loving parent, a caring seminary teacher or a dedicated Scoutmaster.

Compared to those things, film -- and every other means of artistic expression -- pale in their power to change lives. So despite what I do for a living, I do not kneel at the altar of "filmmaking" as a solution to world problems, or even as the most effective way to enlighten or save souls.

Now let's talk about what LDS film can be, and how we can breathe new life into this flailing genre. I do not believe the genre of LDS film is dead, but as Richard Dutcher wrote in yesterday's Daily Herald, I believe the patient is not healthy. And the reason can be summed up in one word: mediocrity.

We have seen an unprecedented number of mediocre-to-awful LDS films of late. In the beginning, the majority of films were excellent. Not only were they groundbreaking, but look at the list -- "God's Army," "The Other Side of Heaven," "Charly," "Singles Ward," "The RM," "Best Two Years," "Saints and Soldiers -- these movies were incredibly well done! And with the exception of "The Other Side of Heaven," all were created for a million or less.

Most Latter-day Saints don't understand (and should not be required to understand) just how difficult it is to make a quality film -- especially to make a quality film for under a million bucks (and in my case, to make a complicated special effects film like "Passage to Zarahemla" for under a million dollars). Because of the limited number of potential customers, no LDS film with a production budget over a million dollars has yet been profitable.

Few can appreciate the miracle of having so many strong LDS films appear straight out of the gate. So how did it happen? Was it luck? Some of it was. And some of it was timing. But mostly it was talent and innovation. That's the bottom line.

The original LDS filmmakers were extremely innovative and talented. And many of the people that surrounded them were also very talented. So what happened? Some of these same producers have made newer movies that have done poorly at the box office. Did LDS audiences lose interest? My opinion is no. Some blame over-saturation of the market, especially an over-saturation of LDS satire. But I still say no (Latter-day Saints flood the theaters every weekend).

Instead, I come back to quality and vision. It's been a long time since we've seen LDS movies that compare with the original crop from the first three years. (By making such a statement I immediately open myself up to challengers who might say, "Let's see if you can do any better, bub!" OK, I accept that challenge.)

My personal opinion is that the most fatal error LDS filmmakers have made is to attempt to "cross over" to non-LDS moviegoers in an attempt to cover burgeoning budgets. This waters down the appeal to Latter-day Saints. And since most non-LDS filmgoers are savvy enough to recognize "subliminal" LDS references, they dismiss such films out of hand, the result being that neither audience shows up. If you're gonna make a Mormon movie, make a Mormon movie! Don't apologize for it! And don't try to water down the story with general themes that will make it palatable for non-Mormons.

But if LDS filmmakers are going to succeed, they cannot forget that their first priority is entertainment. First and foremost, a movie must thrill, surprise, enchant and keep people on the edge of their seats. I hope to do this with "Passage to Zarahemla."

Still, if anyone is expecting special effects like "Pirates of the Caribbean," they'll likely be disappointed. We hope to make up for this with solid characters and a strong story. Those elements are affordable. But what I'm most proud of is that this movie makes no apologies for celebrating the Book of Mormon and LDS culture, and I hope I did it in an entertaining way. And I did it without pandering. How? By truly believing the things I am celebrating! Should any less be expected from any artist?

With "Passage to Zarahemla" I sincerely hope to inspire a better crop of LDS movies. But no single movie can turn the tide. If "Passage" raises the bar and breathes new life into the genre, that alone may justify its creation. Like Richard Dutcher, I hope that future LDS filmmakers are much more discerning about projects and scripts, and that they surround themselves with talented veterans who can make their visions come to pass.

Chris Heimerdinger is an LDS author and emerging movie producer/director. His books include "Tennis Shoes Among the Nephites" and numerous sequels. A trailer for his forthcomimg movie "Passage to Zarahemla" is online at www.passagetozarahemla.com.